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I make these layered paintings on paper and cut Mylar because they allow me to explore certain themes in my work. By layering the Mylar and paper, shadows are created that become an integral part of the work. As with my other works I am creating a square within a rectangle on the surface of the paper. I find the tension between these spaces and shapes an interesting dynamic to work with, especially when the shadows become part of the work. Painting on paper enables me to play with these shapes. For this work, I was thinking about bringing the concept of "landscape" to its absolute essence. This painting on paper is inspired by my daily walks through the woods and how the light shines through the trees. I draw the shapes on the Mylar, carefully cut them out and paint them. This is layered over and attached to the paper configuration. The space between the two is intentional as it allows for light and shadow effects. While these can be hung, I love to hang them floating slightly away from the wall. By placing a nail in each corner and then using small magnets to hold the work in place, it creates a simple, minimal presence.
I make these layered paintings on paper and cut Mylar because they allow me to explore certain themes in my work. By layering the Mylar and paper, shadows are created that become an integral part of the work. As with my other works I am creating a square within a rectangle on the surface of the paper. I find the tension between these spaces and shapes an interesting dynamic to work with, especially when the shadows become part of the work. Painting on paper enables me to play with these shapes. For this work, I was thinking about bringing the concept of "landscape" to its absolute essence. This painting on paper is inspired by my daily walks through the woods and how the light shines through the trees. I draw the shapes on the Mylar, carefully cut them out and paint them. This is layered over and attached to the paper configuration. The space between the two is intentional as it allows for light and shadow effects. While these can be hung, I love to hang them floating slightly away from the wall. By placing a nail in each corner and then using small magnets to hold the work in place, it creates a simple, minimal presence.
I make these layered paintings on paper and cut Mylar because they allow me to explore certain themes in my work. By layering the Mylar and paper, shadows are created that become an integral part of the work. As with my other works I am creating a square within a rectangle on the surface of the paper. I find the tension between these spaces and shapes an interesting dynamic to work with, especially when the shadows become part of the work. Painting on paper enables me to play with these shapes. For this work, I was thinking about bringing the concept of "landscape" to its absolute essence. This painting on paper is inspired by my daily walks through the woods and how the light shines through the trees. I draw the shapes on the Mylar, carefully cut them out and paint them. This is layered over and attached to the paper configuration. The space between the two is intentional as it allows for light and shadow effects. While these can be hung, I love to hang them floating slightly away from the wall. By placing a nail in each corner and then using small magnets to hold the work in place, it creates a simple, minimal presence.
I make these layered paintings on paper and cut Mylar because they allow me to explore certain themes in my work. By layering the Mylar and paper, shadows are created that become an integral part of the work. As with my other works I am creating a square within a rectangle on the surface of the paper. I find the tension between these spaces and shapes an interesting dynamic to work with, especially when the shadows become part of the work. Painting on paper enables me to play with these shapes. For this work, I was thinking about bringing the concept of "landscape" to its absolute essence. This painting on paper is inspired by my daily walks through the woods and how the light shines through the trees. I draw the shapes on the Mylar, carefully cut them out and paint them. This is layered over and attached to the paper configuration. The space between the two is intentional as it allows for light and shadow effects. While these can be hung, I love to hang them floating slightly away from the wall. By placing a nail in each corner and then using small magnets to hold the work in place, it creates a simple, minimal presence.
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VIEW IN MY ROOM

See Through Scape 01 Painting

Milda K

United States

Painting, Acrylic on Paper

Size: 11 W x 14 H x 0.2 D in

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About The Artwork

I make these layered paintings on paper and cut Mylar because they allow me to explore certain themes in my work. By layering the Mylar and paper, shadows are created that become an integral part of the work. As with my other works I am creating a square within a rectangle on the surface of the paper. I find the tension between these spaces and shapes an interesting dynamic to work with, especially when the shadows become part of the work. Painting on paper enables me to play with these shapes. For this work, I was thinking about bringing the concept of "landscape" to its absolute essence. This painting on paper is inspired by my daily walks through the woods and how the light shines through the trees. I draw the shapes on the Mylar, carefully cut them out and paint them. This is layered over and attached to the paper configuration. The space between the two is intentional as it allows for light and shadow effects. While these can be hung, I love to hang them floating slightly away from the wall. By placing a nail in each corner and then using small magnets to hold the work in place, it creates a simple, minimal presence.

Details & Dimensions

Painting:Acrylic on Paper

Original:One-of-a-kind Artwork

Size:11 W x 14 H x 0.2 D in

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Inspired by nature, history and the spaces humans create for themselves, my paintings and constructions conflate place and structure with memory and perception. I draw upon the experiences of place, seeking to distill the natural world and our perception of things down to their very essence. Though the work is abstract and minimal, it is anchored in the real. The slight angle of a tree trunk, a series of telephone lines or a particular pattern of current flow within a body of water become communicators of emotion, feeling and experiential place. My work is concerned with activating this space both in the painting and in the viewer.

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